Women producers of ethnic arts
Identifieur interne : 000C98 ( Main/Exploration ); précédent : 000C97; suivant : 000C99Women producers of ethnic arts
Auteurs : Margaret B. Swain [États-Unis, République populaire de Chine]Source :
- Annals of Tourism Research [ 0160-7383 ] ; 1993.
Abstract
Gender dynamics of indigenous ethnic arts production cannot be explained by development theories which predict that either women producers are empowered by economic gain, or exploited by the patriarchal drive of global capitalism epitomized by international tourism. Comparative data on commoditization of ethnicity by indigenous groups indicate that internal (family/community) factors enable women's empowerment, while external (market/state) factors in a stratified gender/class/ ethnicity order limit role options for indigenous women and men to the “same old stuff./rd Whether in homeland or refugee status, the common issue of cultural survival shapes the gender dynamics of “Fourth World” arts production.
Url:
DOI: 10.1016/0160-7383(93)90110-O
Affiliations:
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Le document en format XML
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<wicri:regionArea>Affiliated with the Department of Anthopology, University of California (Davis CA 95616, USA). Her research on gender issues in tourism development began with work among the Kuna in Panama and continues in her current research project among the Sani Yunnan</wicri:regionArea>
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<front><div type="abstract" xml:lang="en">Gender dynamics of indigenous ethnic arts production cannot be explained by development theories which predict that either women producers are empowered by economic gain, or exploited by the patriarchal drive of global capitalism epitomized by international tourism. Comparative data on commoditization of ethnicity by indigenous groups indicate that internal (family/community) factors enable women's empowerment, while external (market/state) factors in a stratified gender/class/ ethnicity order limit role options for indigenous women and men to the “same old stuff./rd Whether in homeland or refugee status, the common issue of cultural survival shapes the gender dynamics of “Fourth World” arts production. </div>
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